Perhaps travel cannot prevent bigotry, but by demonstrating that all peoples cry, laugh, eat, worry, and die, it can introduce the idea that if we try and understand each other, we may even become friends. ~ Maya Angelou

Seeing Manhattan from the 110th (102nd) floor of the World Trade Center. Beneath the haze stirred up by the winds, the urban island, a sea in the middle of the sea, lifts up the skyscrapers over Wall Street, sinks down at Greenwich [Village] then rises again to the crests of Midtown, quietly passes over Central Park and finally undulates off into the distance beyond Harlem. A wave of verticals. Its agitation is momentarily arrested by vision. The gigantic mass is immobilized before the eyes. It is transformed into a texturology in which extremes coincide – extremes of ambition and degradation, brutal oppositions of race and styles, contrasts between yesterday’s buildings, already transformed into trash cans, and today’s urban irruptions that block out its space. Unlike Rome, New York has never learned the art of growing old by playing on all its pasts. Its present invents itself, from hour to hour, in the act of throwing away its previous accomplishments and challenging the future. A city composed of paroxysmal places in monumental reliefs. The spectator can read in it a universe that is constantly exploding. In it are inscribed the architectural figures of the coincidatio oppositorum formerly drawn in miniatures and mystical textures. On this stage of concrete, steel and glass, cut out between two oceans (the Atlantic and the American) by a frigid body of water, the tallest letters in the world compose a gigantic rhetoric of excess in both expenditure and production.